Soul Rebels
No Place Like Home
Indie

With killer beats and a magnetic energy, Soul Rebels Brass Band recorded their latest CD, No Place Like Home, live in New Orleans at Blue Nile, creating one of their best offerings yet. I often find that when a great brass band records in a closed studio session, they often sound like they’re boxed in, losing that spontaneous raw emotion and energy that comes into play when you hear the band live. Soul Rebels is a band you need to see live in order to capture the stage presence and audience participation feeling to the fullest extent. Magically, this incredible experience comes together on disc and is truly a phenomenal piece to own if you’re a fan of New Orleans music. From “Start it Off Right” down to “Freak Like Me,” the Soul Rebels convey the sounds of a brass band concert in New Orleans by embracing the art of a musical performer. With each track the audience embodies the “Get Up”  feeling, and you can literally hear the feedback, the party, and “…the Beat” goin’ down on that night. There’s raw adrenaline-pumping emotion released in every sound possessing the love of New Orleans. Troy “Trombone Shorty” Andrews is featured on “No Place Like Home” and “504,” that also showcase how New Orleans musicians share their talent and stage with each other in beautiful harmony. This CD is definitely the local party CD of the year and I highly recommend picking it up as soon as possible, as I was in complete awe of the musical brilliance and art form they controlled. Once you hear it, you’ll be chomping at the bit to get your Thursday night fix at Le Bon Temp.
-Sheri McKee


Marc Gunn
The Bridge
Mage Records

St. Patrick’s Day gets the blues in ragtime when Marc Gunn is jazzed about Celtic music. The Bridge is a boundary-crossing monument to Marc’s love for his new home, New Orleans. This transplant was once a staple on the Austin alternative music scene, and he wills the sum of his talents into being like a kilted phoenix reborn each time he records a new CD. This particular collection plays as a metaphor for the bridges musicians like Gunn have made connecting traditional Irish and Scottish folk music to American filk and indie. “Gypsy Rover” and “Peggy Gordon” are lovingly honored by the singer. Gunn structures the sounds of the Big Easy into this work with “The Devil and the Deep Blue Sea.” Marc reflects on the highlands in “Liquid Sunshine.” Gunn himself shines in his version of Ren faire favorite “Wild Mountain Thyme.” In full heartthrob mode, he sings through attempts to reconnect with love lost in “The Bridge,” written and composed by Gunn. His vocals are strong yet tender, and the effect is hauntingly masculine in “No Songs Left to Sing.” Guest musicians and singers are featured. The tone is light and the songs are instantly memorable, which makes this a great purchase for anyone new to the Celtic scene.
-Dionne Charlet

Joe Lovano Us Five
Folk Art
Blue Note

Coming into prominence in the late 1980s, internationally renowned reed-man Joe Lovano has served as a bridge between the generations of the older and newer forms of jazz, with emphasis on the straight-ahead styling of his idols John Coltrane and Sonny Stitt. With more than two dozen CDs as a band leader and another two dozen collaborations since 1985, Lovano’s output has definitely been prodigious. On this CD, Lovano reaches back a generation or two for most of the musicians in his Us Five combo which, in his own words, gives him “fresh eyes and fresh ears,” allowing him to move in new directions. And, though decidedly partial to the straight-ahead genre, Lovano is not limited to it. Several of these tunes show Afro-Cuban and other exotic musical influences. But best of all are Lovano’s incredible improvisations, of which there are many examples among the nine original tracks. Unlike many improvisers, Lovano never strays too far from the basic melody. He can go wild and crazy for a few bars but he always returns to a logical note progression at the end of each riff. And, in addition to playing just the standard alto and tenor saxes, he also shines on several other exotic reed instruments, including the aulochrome – a double soprano sax with a keyboard down the center, and a tarogato – a half-clarinet, half soprano sax. Backed by James Weidman on piano, Esperanza Spalding on bass, Otis Brown III on drums, and Francisco Mela on a battery of exotic percussion instruments, this CD is yet another fine effort by one of the great jazz artists of our time.
-Dean M. Shapiro



Various Artists
Putumayo Presents Rhythm & Blues
Putumayo World Music

Putumayo brings together a collection of the best rhythm and blues artists, legendary and some of today’s rising stars, to create an incredible album that’s a must for any fan of R&B music. Local soulful favorites Irma Thomas and Henry Butler contribute “River Is Waiting,” Snooks Eaglin brings “A Mother’s Love,” while James Hunter croons “’Til Your Fool Comes Home.” Sharon Jones and The Dap Kings gives a flavorful “100 Days, 100 Nights” while Sam Moore, Keb’ Mo’, and Angie Stone bring a memorable Louisiana harmonica way to “Wang Dang Doodle.” This phenomenal CD truly brings together the top names of R&B music, the essence, inspiration, and roots behind today’s hip hop music, and the honest lyrics that grasp the realism of life. This CD is full of raw emotion and love interpreted through musical instruments.
-Kevin McKee

Metronome The City
Objects To Be Destroyed
Indie

With their second full length album, Metronome The City blasts their latest stellar sensation Object To Be Destroyed. Contemporary beats, techno guitar riffs, and 80s inspired video game soundtracks fuel the energy of their destruction. Transcending the musical influences of Yes, Rush, and other progressive rock groups, Metronome The City embraces their multi-layered musical compositions through aggressive psychedelically inspired storytelling within their sound. Envision the Mad Hatter and his tea party caffeinated and fueled with musical instruments – the result is pretty awesome and forward thinking to say the least. It’s very clear that band members Patrick Condon, Brad Theard, William Gilbert, Brad Guillory, and Marc Laporte bring their art, creativity, dreams, and nightmares to the table when it comes time to record an album together. Some personal favorites on this CD include “Snow Job,” “Surfdubsludge,” and “Laser Back” for creating that the feeling of flight through the realm of sound. The intro of “Metronomics” sounds like it could easily be an iPod commercial theme while the sitar on “Thunderhead,” played by Aaron Nitzkin, takes the listener on a journey of enlightening spiritually and dark discovery. Although their album title may reflect an enraged destruction, the members of Metronome The City are building strength and greatness within their work.
-Sheri McKee

Monk Hazel & His New Orleans Jazz Kings
Monk Hazel & His New Orleans Jazz Kings, Featuring Al Hirt & Pete Fountain
GHB Records

New Orleans native Monk Hazel reigned as a master drummer and bandleader, dating back to the 1920s. Noting the fact that Hazel was generally under-recorded in his early years, GHB Records releases this collection of two distinct bands and recording sessions from the mid-1950s, continuing the label’s commitment to historically significant material. The album includes five previously unreleased tracks. The combo on tracks 1-5 includes Pete Fountain and Al Hirt, capturing some of Hirt’s earliest recording session work, from 1955. Hirt’s work sparkles on “Of All the Wrongs,” a lazy flowing tune, and the up-tempo “A Long Way to Tipperary,” and Rita St. Claire provides the vocal performance on both tracks. Tracks 6-13 from 1957 include 4 of the previously unreleased tracks, closing with “Sin To Tell A Lie.” Dutch Andrus plays trumpet and Roy Zimmerman carries the chordal accompaniment on piano, joining Hazel on both recording sessions. It’s a top-notch New Orleans Dixieland collection to satisfy the appetite of the jazz purist.
-Craig M. Cortello


Galactic
Ya-Ka-May
Anti

Galactic’s latest CD brings a more adventurous spirit through their musical journey post-K in NOLA. From the first track “Friends of Science,” featuring sampled clips of Morgus the Magnificent including “…take these pills,” one can easily recognize that it’s not your college memories of Galactic funk. These days, the guys sound more like they’re reinventing themselves through collaboration and frankly it works well for them. Rebirth Brass Band sounds dope on “Boe Money,” and the local Queen of Soul Irma Thomas sounds funkier than ever on “Heart of Steel.” Between Big Chief Bo Dollis lending his vocals to “Wild Man” and Allen Toussaint on  “Bacchus,” Galactic’s funky rhythms sound like something George Clinton and the P-funk would produce. John Boutte brings a soulful performance on “Dark Water,” one of the most endearing songs on the CD. Two brass filled numbers feature members of the Andrews family – “Cineramascope” rocks the sounds of Trombone Shorty & Corey Henry while “You Don’t Know” hails a stellar performance by Glenn David Andrews and Rebirth Brass Band. Katey Red, Sissy Nobby, Big Freedia, and Cheeky Blakk bring the local rap element into the flavor of Ya-Ka May, making sure things are not PG13-rated by any means. Walter “Wolfman” Washington goes into a slow jam with “Speaks His Mind” while “Krewe D’ Etat” is a mere 33 seconds of ear candy. This Galactic CD reflects the collage of their cover art, just as it reflects the diversity in their musical sound by bringing together elements and stirring them together to create a delicious mix.
-Kevin McKee

Gov’t Mules
By A Thread
Evil Teen Records

Power-jam band Gov’t Mule has released their first studio album in three years, just in time for a lengthy spring tour that brings the Mule and other-wordly frontman Warren Haynes into New Orleans for a couple of performances, including Jazz Fest. By A Thread, which the band recorded just outside of Austin, Texas at Willie Nelson’s Pedernales Studio, immediately announces itself like a heavyweight prize-fighter with the hard-hitting “Broke Down on the Brazos.” Drawing its name from a local Hill Country river, this song comes pounding in with a strong backbeat from standout new bassist Jorgen Carlsson, who lays down some stellar bass jams in his first work with Gov’t Mule. However, it’s the guitar play of Mr. Haynes that truly makes the Mule kick. “Brazos” is a prime showing of this featuring Haynes and special guest Billy Gibbons of ZZ Top; squared off in a burning duel with scorching Les Paul guitars, this stomping Texas tune has all the elements to be a Mule classic. “Steppin’ Lightly” is another heater on this record that comes in super hot, then lightens up just a bit, finishing with a hard Carlsson bass line. On this jam Haynes really showcases his soulful vocal abilities, singing of a woman lost, while rippin’ an upbeat chic-wah guitar sound that is vintage Haynes. Another song that comes forward is “Railroad Boy,” a one hundred-year old traditional Celtic tune that includes Haynes pounding it out on a twelve-string slide guitar. The prize of the CD seems to be “Inside Outside Woman Blues #3.” The guitar work on this number is as good as it gets, with over nine minutes of blues power that shows why Mr. Warren Haynes might be the best in the business.
-Anthony Warner     


Various Artists
Jazz Playground
Putumayo Records

Putumayo brings together an eclectic collection of jazz, bebop, and swing music from all over the world including their home base, New Orleans. Local artist Ingrid Lucia is featured singing “This Little Light of Mine,” which becomes an enchanting rendition in her sweet sultry voice. Vermont favorite Lewis Franco & The Missing Cats start things off swinging with style on their tune “Stomp, Stomp,” while Canadian Chris McKhool follows up with a more classic old-school rendition of cartoon favorite theme song, “Spider-man.” Jose Conde bring the Latin inspired jazz into play with “Cumbamba” and French artists Triocephale show their influences with “Sur Le Pont D’ Avignon.” The CD truly captures the global aspect of music and style which could easily be used as a teaching aid in the classroom to demonstrate musical influences around the world. Although the CD is geared to children, it’s a delightfully playful piece to own as an adult and would be charming to listen to during a Sunday brunch at home.
-Sheri McKee


Chris Rico
Her Melancholy Smile
Dixie Dawg Records

Hailing from beloved Metairie, we have Chris Rico and his solo record, Her Melancholy Smile. Rico is stepping away from his Hard Rock project Misled, to tone it down a bit and display some lighter shades of his musical ability. The album has ten tracks of acoustic-guitar-driven songs, all of which contain confessions of love, lust, and the apathy that comes with a broken heart. Rico’s compositions are pretty straightforward three to four minute pieces that you might hear on the radio. This is good and bad, because some of the tracks may gel perfectly with the regurgitated, borrowed riffs that radio offers us on a daily basis. And bear with me readers; I’m aware that we are at a point of being unable to reach fresh musical ground... but that’s what I’m hearing, mixed with a bit more of course. That bit more that I mention comes through on “I want you ,” particularly with the recording. The microphone has some gain on it that has me thinking they ran it through a guitar amp, and therefore makes it stand out on the album. “I still love you” also changed my initial reaction. There are some cool pauses that bring to mind old blues rock ‘n’ roll. There is also a hint of Morrissey vocals on this one. And the music steps away from the other tracks in terms of a potentially better sound, meaning its chromatic arrangement reminded me of Sonic Youth. If Rico continues to play with ballads of this type, I could see a future record with some interesting music on it. But as for now, he could be setting himself up to be victimized by the vampires that control music business. As confusing as this is about to sound, to Misled and Chris Rico fans, put this one in your collection because you may want to document his progression, while if you’re a magical weirdo like me who feels it time to deconstruct music as it is today, be wary.
-Brian Serpas